A LIMESTONE BUST OF A FEMALE SAINT BURGUNDY, FRANCE, 2ND HALF OF 15TH CENTURY |

carved in high relief as a bust of a woman, probably one of the three Marys or a female saint from an Entombment group, wearing a veil and a wimple, with the drapery elegantly covering her head, neck and shoulders, the hem of her cloak suggesting a row of buttons and embroidered decoration, her heavy eyelids lowered in a downcast gaze, evoking a sense of sadness, her round face further articulated by fleshy cheeks, a small nose and pursed lips

A French private collection.
Acquired in Paris.

Some areas of surface abrasion, with loses to nose, mouth and top of the head.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Large-scale Entombments and Pietas with multiple figures became popular devotional monuments in the second half of the 15th century, carved for churches through Burgundy and Languedoc. An early example is the group carved by a disciple of Jean de la Huerta, c.1460, in the Côte-d'Or, Dijon, Hôpital du Saint-Esprait (Jacqueline Boccador, Statuaire Médiévale en France de 1400 à 1530, Zoug, 1974, vol. I, p. 277, fig. 289). Another is the Entombment group in relief, from Allier, Souvigny, in the Church of Saint-Peter and Saint-Paul, c.1480-1490, carved in a Burgundian-Languedocian workshop (Boccador, 1974, vol. II, p. 76, fig. 81). The closest stylistic comparison, however, is the Entombment group made by the so-called Maître de Chaource, active in the late 15th and early 16th century. The rounded facial types, with sad expressions and elaborate veils, are all reminiscent of our relief. Whilst depicting a Biblical scene which shows Christ and his followers in the most human way, the figures in these scenes still embody the elegance of Gothic sculpture – young idealised faces, rich dresses and an excess of fabrics.